HARRY MOORE-GWYN BRITISH ART
HARRY MOORE-GWYN
BRITISH ART CATALOGUE TWENTY
Front cover: Freda Mabel Rose (1909-1987) Summer day in a Seaside Town [Cat.62] Opposite Page: Norman Clark, RWS (1913-1992) The Visitation [Cat.11] Above: Eric Fraser (1902-1983) The Pursuit of Pleasure [Cat.60]
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Ernest Procter, ARA (1886-1935) Air Raid at Dunkirk, Sept 17th, The Chamber of Commerce Burning, 1917 [Cat.49]
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CONTENTS BRITISH PAINTING (1880-1980)
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EARLY BRITISH AND VICTORIAN ART
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MODERN BRITISH WORKS ON PAPER AND SCULPTURE
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Fermin Rocker, (1907-2004) Curtain Call [Cat.14]
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BRITISH PAINTING (1880-1980)
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Cat.1
Cecil Gordon Lawson (1851-1882) Early Morning at Weymouth, Dorset Signed l.r.: Cecil Lawson and inscribed indistinctly on stretcher: Weymouth/early morning ? Oil on canvas, 23.5 by 34 cm (9 Âź by 13 Âź ins)
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Cat.2
Edward Stott, ARA (1859-1918) Geese being driven on a Lane at Sunset Oil on panel, 18 by 29.5 cm (7 1/4 by 11 3/4 ins) Provenance: with the Fine Art Society, London in October 1986 (stock no.11326)
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Cat.3
David Muirhead, ARA (1867-1930) Battersea Reach Signed and dated l.r.: David Muirhead/1917 Oil on canvas, 54 by 69 cm (21 Âź by 27 ins)
Muirhead lived on Cheyne Walk and executed a number of atmospheric views of the nearby Thames which show the clear influence of his neighbour there J.M.Whistler, whom he had known as a fellow member of the New English Art Club. At least two known paintings of Battersea Reach by Murihead exist from 1917, the present work and another slightly larger version viewed from a lower vantage point on the river, which was presented to the Tate Gallery in 1918 through the National Art Collections Fund (inv.3323). That work was also exhibited at the New English Art Club in the summer of 1917 (no.94).
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Cat.4
Lowes Dalbiac Luard (1872-1944) Carthorses on the Banks of the Seine Oil on canvas, 27 by 46 cm (10 ž by 18 ins) Provenance: the artist’s family
Following his studies at the Slade, where he was a contemporary of Augustus John and Ambrose McEvoy, Luard continued his training in Paris and in 1905 settled in that city for some thirty years. It was here that he encountered the French workhorses who were a constant presence in the city, hard at work on the fast-changing developments that were taking place on or near the banks of the Seine. These horses, and in particular the Percheron, one of most impressive and monumental of the French work horses, would arguably become Luard’s defining subject as an artist. The present work is an oil study of one such scene on the banks of the Seine, executed in the typical, fluid and painterly technique that is suggestive of his diverse artistic training on either side of the English Channel.
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Cat.5
Harold Gilman (1876-1919) In the Nursery at Snargate Rectory Signed l.r.: H.Gilman Oil on canvas, 54 by 44 cm (21 Âź by 17 Âź ins) Provenance: The Estate of the Artist, from whom acquired by Lord and Lady Walston in 1955; Their sale, Christie's London, 6th June 2003, lot 14 Exhibited: Colchester, The Minories, Harold Gilman, 1876-1919, An English Post-Impressionist, 1st - 29th March 1969, cat. no.10, illustrated, with tour to The Ashmolean Museum, Oxford and Graves Art Gallery, Sheffield (as Interior); Stoke on Trent, City Museum and Art Gallery, Harold Gilman 1876-1919, 10th October - 14th November 1981, cat. no.8, illustrated p.44, with Arts Council tour to York City Art Gallery, York; Birmingham Museum and Art Gallery, Birmingham, and Royal Academy of Arts, London (as Interior); London, Christie's, The Painters of Camden Town, 1905-1920, 4th - 24th January 1988, cat. no.28 (as Interior). Literature: Maureen Connett, Walter Sickert and the Camden Town Group, David & Charles, Newton Abbot, 1992, p.45, illustrated (as Interior (showing Grace and the Children)).
The rectory at Snargate on Romney marsh in Kent was the home of Gilman's father who was rector of the parish there until his death in 1917. Several important early interior scenes were executed by Gilman there including the present work, Edwardian Interior (Tate Britain) and Interior (Southampton Art Gallery). The scene depicts the artist's first wife Grace with her back turned to us as she stokes the fire. To the front of the composition is the maid, Sarah, reading a book with Gilman's younger daughter Hannah (b.1905). Richard Thomson (in his introduction to the 1981 Arts Council exhibition on Gilman) has suggested a poignant interpretation of this painting. In the composition, Grace faces away from Gilman, a possible hint to her increasing remoteness from her husband. In 1909 Grace would travel to America with their children never to return, finally divorcing Gilman in 1917, two years before his untimely death in the Spanish Influenza pandemic of 1919.
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Cat.6
Malcolm Drummond (1880-1945) Backs of Houses, London Bears inscription on stretcher: Property of Mrs Malcolm Drummond Oil on canvas, 61 by 47 cm (12 by 18 ½ ins) Provenance: the artist’s estate (property of Mrs Malcolm Drummond), their sale Christie’s, 11 November, 1977, lot 63; with Blond Fine Art, Sackville Street, W1, May 1983, when sold to Mr Bennett
Street scenes are a distinctive part of Drummond’s early output and of his exhibits at the Camden Town Group shows of which he was a founder member. Comparisons can be made with his well-known painting, The Park Bench, which is now in The Royal Albert Museum in Exeter and is thought to date from c.1910. The influence of Cezanne is evident in both works, particularly in the depiction of the trees. The stark monumentality of the houses (also evident in The Park Bench) is another strong characteristic of Drummond’s work, possibly anticipating other depictions of the London skyline such as those by Algernon Newton. 12
Cat.7
Frank Wood (1904-1985) Portrait of John Summers Signed and dated l.l.: F.Wood/32 Tempera on panel Exhibited: London, Royal Society of Portrait Painters, 1937, no.4; Royal Society of British Artists, 1937 Literature: Marshall Hall, The Artists of Northumbria, Bristol, 1982, p.374-5
Frank Wood was an accomplished painter, watercolourist and muralist who was a central part of the art scene in Sunderland in the middle part of the twentieth century. Particularly adept as a painter in tempera he was chairman of the Sunderland Art Club for many years. The present work depicts Wood’s colleague and fellow club member John Summers (a former Naval engineer and himself a fine commercial artist and etcher) and is a remarkable tribute to a fellow artist and an exceptional example of tempera painting of the mid twentieth century. A major retrospective of Wood’s work was held at Sunderland Art Gallery in 1995. 13
Cat.8
John Aldridge, RA (1905-1983) An Oxford Street Scene Signed with initials and dated l.r.: JA/24 Oil on board, 25 by 35 cm (9 ž by 13 ž ins) Provenance: a gift from the artist to an Oxford friend in 1924; thence by descent
Aldridge was an undergraduate at Corpus Christi College, Oxford from 1924 to 1928. His early work is very rare but shows strong signs and early promise of his later more mature style. The present painting was given to an Oxford contemporary in the year it was painted and most probably depicts a (at present unidentified) scene on one of the city's streets.
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Cat.9
George Henry (fl.1941-1954) The Bridge Signed and dated l.r.: George Henry/52 Oil on canvas, 71 by 91 cm (28 by 35 ž ins) Exhibited: Edinburgh, Royal Scottish Academy, 1953, no.413
George Henry was an Arbroath-based painter who exhibited still lifes, landscapes and other decorative subjects, mainly at the Royal Scottish Academy in the 1940s and 1950s. He also worked as a printmaker in linocut, exhibiting his work Sea Shell there in 1954. The present work is almost certainly his landscape titled The Bridge which was exhibited at the Royal Scottish Academy in 1953 (no.413). It depicts the well-known stone bridge at Arbirlot, a village not far from Abroath itself.
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Cat.10
Cat.11
Rosamund Wise (1900-1954) A Surrealist Landscape
Norman Clark, RWS (1913-1992) The Visitation
Signed l.r.: R.Wise and further signed and inscribed (verso) Rosamund Wise/The Redfern Gallery/ 20 Cork Street/W1 London Varnished gouache with oil on card, 34 by 50.5 cm (13 ¼ by 20 ins)
Signed and dated l.l.: Norman Clark/1933 Oil on board, 60 by 39.5 cm (23 ½ by 15 ½ ins)
Wise was a Chelsea-based artist who exhibited publicly in the 1930s, including at the New English Art Club where she showed her painting Ce Vaut Combine in 1928. Her commercial exhibitions included work shown at the Redfern Gallery (as is apparent in the present case). Her work shows the strong influence that Surrealism was having on British artists of the inter-war years, particularly following the London International Surrealist Exhibition of 1936.
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In the early 1930s, having graduated from Central School of Art, Clark excelled as something of a star student at the Royal Academy Schools. As well as winning the Royal Academy Gold Medal in painting, he was also awarded the Landseer Prize for mural decoration and the Stott Scholarship. This rare, visionary, early work was painted at around this time. Although it stylistically differs from his later work it is evidence of the central place that the human figure and the imagination would always play in his output. He wrote later on his life as a painter, reflecting: “Much of my work has been concerned with the human figure. Whenever … I draw from memory it is always a human being that appears. Characters from the past seem to pose from me in my mind, some of them being deceased relatives, some never seen before.”
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Cat.12
Cat.13
Charles Pears, RI, ROI (1873-1958) At the Furnace
Charles Pears, RI, ROI (1873-1958) The Typesetter
Signed l.l.: Chas. Pears Oil on paper laid to board, 14 by 28 cm (5 ½ by 11 ins)
Signed l.l.: Chas. Pears Oil on board, 14 by 28 cm (5 ½ by 11 ins)
The origin of both these Pears subject paintings remains unknown although a comparable published poster for the Empire Marketing Board, Cotton Dye Works by Edward Barnard Lintott may suggest a similar source for the present painting.
Pears was one of the most successful and prolific graphic artists of his generation, his output including book illustrations and jackets, magazine work and posters for organisations that ranged from Great Western, Midland and Scottish and Southern, railway companies and the Empire Marketing Board, He is perhaps known for his marine paintings, which included work executed as an official artist in both World Wars.
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Cat.14
Fermin Rocker (1907-2004) Curtain Call Inscribed with title (to reverse of board) Oil on board, 41 by 51 cm (16 by 20 ins)
Rocker was an Anglo-American painter and book illustrator who was born into a prominent family of early twentieth century anarchists and political radicals. From 1929 until 1972 Rocker settled in New York where he worked for a time for the Fleischer Studio on animated productions which included Betty Boop and Popeye. Also a fine printmaker, he was awarded the Philadelphia Print Prize in 1946 and his work was also exhibited at the Whitney Museum and the Kennedy Gallery in New York. He is perhaps at his best in scenes of everyday life, such as depictions of London streets, the Underground, or (as in the present case) the theatre. Such works show the best of his style, combining his dual influences of American art, particularly Edward Hopper and picture book illustration of the mid twentieth century.
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Cat.15
James Tarr (1905-1996) Still life with Toys and Gas Mask Bears inscription and title (on the reverse of canvas) Oil on canvas, 68 by 49 cm (26 ¾ by 19 ¼ ins) Provenance: the artist’s estate; Sotheby’s, London, 2 July 1987, lot 202
Tarr studied at the Royal College of Art in its golden period, his contemporaries including Eric Ravilious and Edward Bawden. He was a prolific exhibitor and a first prize winner at the Royal National Eisteddfod in 1930. He went on to become principal of High Wycombe School of Art. His work suggests something of the Bawden-Ravilious style combined with that of other artists’ of the period including Paul Nash and (in the present case in this inventive wartime work) Edward Wadsworth. 21
Cat.16
Cat.17
Richard Eurich, RA (1902-1993) Evening, 1980
Richard Eurich, RA (1902-1993) Pebbles, 1978
Signed and dated l.r.: R.Eurich/1980 Oil on canvas, 40.5 by 91 cm (16 by 35 ¾ ins) Exhibited: Southampton Institute et al., Richard Eurich: A Visionary Artist, 2003, no.48 Literature: Edward Chaney & Christine Clearkin, Richard Eurich 1903-1992, Visionary Artist, Paul Holberton, 2003, cat.no.51, p.81 (illustrated)
Signed and dated l.r.: R.Eurich/19 Oil on board, 20.5 by 35.5 cm (8 by 14 ins) Exhibited: Southampton Institute, Russell Cotes Museum, The Fine Art Society, London, Richard Eurich: A Visionary Artist, no.48 Literature: Edward Chaney & Christine Clearkin, Richard Eurich 1903-1992, Visionary Artist, Paul Holberton, 2003, cat.no.48, p.78-79 (illustrated)
Eurich’s later beach and coast scenes nearly all depict parts of the Solent near the Beaulieu river, such as Lepe which stands at the river’s mouth. They are frequently possessive of a strong sense of mystery with shipping passing across a distinctively high water line. The present work is a particularly strong late example. 22
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Cat.18
Bernard Gay (1921-2010) By the Gate, 1955 Signed and dated l.l.: Gay/55 Oil on canvas, 47 by 30.5 cm (18 ½ by 12 ins)
Gay studied at Willesden School of Art before having a distinguished career as a painter, teacher and art educator. He was a founder of the Camden Arts Centre and later taught at the Royal College of Art. He exhibited widely, including at the ICA, Wildenstein and Piccadilly Gallery. His strong 1950s landscapes are probably his best works and he was chosen as one of Jack Beddington’s Young Artists of Promise in his 1957 book of the same title. A closely comparable work was reproduced on the cover of The Studio in March 1958.
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Annie French (1872-1965) Illustration to “The Wish” by Abraham Cowley [Cat.33]
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EARLY BRITISH AND VICTORIAN ART
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A Collection of Drawings and Watercolours by Edward Lear (1812-1888)
Cat.19
Edward Lear (1812-1888) Extensive Landscape in the Roman Campagna Dated indistinctly in pencil l.l.: 24 March 184?7 Pen and sepia ink over touches of pencil, 9 by 33 cm (3 ½ by 13 ins)
Cat.20
Edward Lear (1812-1888) Jaffa Inscribed l.r.: Jaffa and dated March 26 1858 Watercolour over pen and ink and pencil, 4.5 by 12.5 cm (1 ¾ by 5 ins) Provenance: Sotheby's, London, 16 July 1992, lot 165
Lear's trip to the Middle East in the Spring of 1858 resulted in several impressive views of Jerusalem, two of which are now in the Tate (inv.2753 and 2792). He wrote in his diary on the day the present drawing was executed: “Rose at 6 having slept very decently. Sea Calm, hardly any wind. Jaffa..” (diary entry for Friday 26 March 1858) 28
Cat.21
Edward Lear (1812-1888) Mount Generoso - a “Bella Vista” Inscribed with title and dated l.l.: 5.30 pm/9 Sept 1881 Pen and sepia ink, 10 by 17 cm (4 by 6 ¾ ins)
Mount Generoso lies on the Italian-Swiss border to the west of Lake Como. Lear first visited the area in 1878 and returned on a number of occasions in the summers of the following years. The mountain became one of the artist’s favourite subjects.
Cat.22
Edward Lear (1812-1888) Monte Generoso Inscribed and dated in ink l.r.: M.Generoso/5 pm/15 July 1882 and similarly in pencil (l.l.) Pen and sepia ink over traces of pencil, 10 by 17 cm (4 by 6 ¾ ins)
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Cat.23
Edward Lear (1812-1888) Albenga From the Railway Inscribed with colour notes and dated: 6 Sep 1880/ 6.40pm and with the lines from Tennyson: Day was sloping towards the western bower Pen and sepia ink with pencil and touches of watercolour, 7.5 by 12.5 cm (3 by 5 ins) Provenance: Katherine Hely-Hutchinson; Mrs Ruth Hughes
In the lower part of this drawing Lear quotes a line from Tennyson’s 1830 poem, Mariana, based on a premise from Shakespeare’s Measure for Measure. Lear first met Tennyson in the 1850s and became a lifelong friend and admirer. In the latter part of his life having moved to a house in San Remo which he even named Villa Tennyson, Lear made numerous illustrations to Tennyson’s work, many of which were published after his death. Unsurprisingly at the time this small sketch was executed, Tennyson’s work would inevitably have been much on Lear’s mind. 30
Cat.24
Edward Lear (1812-1888) Travellers in Calabria with Stilo beyond Inscribed and dated l.l.: Stilo/August 17 1847 Watercolour over pen and ink, 26.5 by 19.5 cm (10 ½ by 7 ¾ ins)
Lear travelled throughout Calabria in the Summer of 1847 in an important journey that he would recall in his Journals of a Landscape Painter in Southern Calabria. He spoke specifically about the impression that the hilltop town of Stilo made on him: “Soon the town of Stilo on its height became visible...there was light enough to perceive that its general aspect was most promisingly picturesque...it is built on a sort of amphitheatrical terrace, the projecting rocks at each extremity crowned with the most picturesque of churches and convents.”
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Cat.25
Thomas Uwins, RA (1782-1857) “Titania Asleep”, a scene from “A Midsummer Night’s Dream” Probably presented in the artist’s original frame Oil on panel, 20 by 25 cm (8 by 9 ¾ ins) Exhibited: Dublin, Loan of Art Treasures, c.1820 Provenance: with Abbott and Holder in March 1987
Uwins regularly contributed Shakespeare subjects as Royal Academy and British Institution exhibits in the early decades of the nineteenth century. They were also regular subjects of The Sketching Society formed by J.J. and A.E.Chalon and of which Uwins was a leading member. The visionary quality in the present work also shows something of the influence of J.H.Fuseli, of whom Uwins was an admirer.
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Cat.26
Alfred Edward Chalon, RA (1780-1860) Ceres and Dionysus Signed l.l.: A.E.Chalon Sepia wash over pen and ink, 37.5 by 33.5 cm (14 ¾ by 13 ¼ ins)
This fluid wash drawing is typical of work produced in meetings of The Sketching Society, an organisation that Alfred Edward Chalon formed with his brother John James in 1808. The society’s meetings were attended by a number of the finest artists of their day, amongst them J.M.W.Turner. Work produced at the society is frequently characterised by its religious, historical or mythological subject matter. 33
Cat.27
Sir Joseph Noel Paton, RSA (1821-1901) Portrait of John McNair Dated indistinctly l.r.: March 27/1852 and dedicated l.l. To Mrs McNair/with all good wishes xmas 1858/JNP Pencil with touches of red and white chalk, 26 by 20 cm (10 ¼ by 8 ins)
Shakespeare’s A Midsummer Night’s Dream was a constant source of inspiration for Noel Paton who returned to the subject numerous times from the 1840s to the 1880s. They are arguably his most famous and successful works. This romantic portrait study depicts John McNair who was one of the models for the central figure of Oberon in one of Noel Paton’s paintings from this play.
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Cat.28
Sir John Everett Millais, Bt., PRA (1829-1896) Study of the Cast of a Hand Signed (verso): John Everett Millais and with later inscription J.E.Millais/bought at Christie’s 1967 Soft pencil, 33 by 43.5 cm (13 by 17 ins) Provenance: Esme Prowse (the artist’s grand daughter) her sale Christie’s, London, 14 November, 1967; Raoul Millais
Millais was one of the most remarkable artist child prodigies of the nineteenth century, entering Henry Sass’s Academy in Bloomsbury in 1838 at the age of only nine. In 1840 he became the youngest ever student to enter the Royal Academy Schools at the age of eleven. As part of his training, the young Millais was required to execute study drawings from casts and sculptures after the Antique. The present work is one such example, similar examples being held by the collections of the Royal Academy Schools and the British Museum.
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Cat.29
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (1833-1898) Studies of Babies possibly for the “Graham Piano” Pencil, 23.5 by 16.5 cm (9 ¼ by 6 ½ ins) Provenance: acquired by the previous owner from Abbott and Holder
The present sketches, probably of one of the artist’s children, bears some comparison with the decoration on the interior of the lid of the Graham Piano of 1879-1880.
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Cat.30
Edward Robert Hughes, RWS (1851-1914) Study of a Draped Figure in a Head Dress Coloured chalks, 37 by 25 cm (14 ½ by 9 ¾ ins) Provenance: Sotheby’s, Belgravia, 26 June 1979, lot 176
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Cat.31
Frederic, Lord Leighton, PRA, RWS (1830-1896) Figure Studies for George Eliot’s “Romola” Black and white chalk on blue paper, 20.5 by 28 cm (8 by 11 ins) Provenance: with Julian Hartnoll Literature: Russell Barrington, The life, letters and work of Frederick Leighton, London, 1906, for the related print to this drawing (plate 62.18)
This drawing is a study by Leighton for his set of illustrations to George Eliot's Romola, set in fifteenth century Florence and first published in instalments in Cornhill Magazine in 1862 and 1863.
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Cat.32
Arthur Rackham, RWS (1867-1939) Title Page Illustration for “Little Brother & Little Sister”, 1917 With the artist's monogram Watercolour over ink, 28 by 16 cm (11 by 6 ¼ ins)
Fred Gettings in his 1975 monograph Arthur Rackham. A study of his art and Illustrations has written: “…it was during these years that he illustrated a new Brothers Grimm title, Little Brother and Little Sister which is in effect one of his crowning achievements. In these twelve colour plates we find the most astonishing versatility of style, and an exquisite pitch of execution…This is one of the few books illustrated by Rackham from which it would be possible to select any single-colour picture in order to demonstrate Rackham's art at its finest.” (Gettings. op cit, pp. 116-117). 40
Cat.33
Annie French (1872-1965) Illustration to “The Wish” by Abraham Cowley Signed l.r.: Annie French an inscribed with lines from the poem: O Yet, ere I descend into the Grave/May I a small house and a large garden have Pen and ink with wash, 25.5 by 32 cm (10 by 12 ½ ins)
French’s exquisitely crafted Art Nouveau illustrations are amongst the finest of any artist associated with the Glasgow School of Art during its time under the influence of Charles Rennie Mackintosh. This evocative pastoral drawing is an illustration to verses from a poem by the great seventeenth century poet Abraham Cowley.
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Robert Medley, RA (1905-1994) The Jokers I [Cat.56]
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MODERN BRITISH WORKS ON PAPER AND SCULPTURE
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Cat.34
Edward Stott, ARA (1859-1918) At the Bedside Signed l.l.: Edward Stott Watercolour with chalk over pencil, 35.5 by 27 cm (14 by 10 ½ ins)
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Cat.35
Sir George Clausen, RA, RWS (1852-1944) A March Morning Signed l.r.: G.Clausen and further signed and inscribed with title (to the reverse of the original backboard) Coloured chalks over pencil, 20 by 26 cm (8 by 10 ¼ ins)
The majority of Clausen’s remarkable works in pastel date from the 1880s and the early 1890s. He was initially drawn to the medium through his admiration of the pastels of Edgar Degas and he even purchased a Degas fan in about 1888. Over time Clausen has come to be regarded as one of the finest practitioners in this difficult medium of his generation. In 1902 Dugald Sutherland MacColl specifically wrote on his pastels in a review of his first one man show at the Goupil Gallery: “The stroke of pastel chalk seems to be the most direct and satisfactory means of expression for Mr Clausen…Here the notes are clear struck and decisive. He renders more than once a beautiful effect that is almost his own property.” (The Saturday Review, 15 November 1902, p.611) 45
Cat.36
Norman Garstin (1847-1926) A Winter Landscape Signed l.l.: Norman Garstin Watercolour, 48 by 64 cm (19 by 25 ins)
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Cat.37
James Pryde (1866-1941) Interior scene at night With a further pencil sketch (verso) titled "The Lovers� and other inscriptions Watercolour with gouache, 12 by 7.5 cm (4 ž by 3 ins) Provenance: a gift to a previous owner from Kenneth Clark in May 1943, according to an inscription to the reverse of the original Rowley Gallery backboard
One of a series of illuminating inscriptions on the verso of the present drawing is possibly a reference to the painter and photographer Malcolm Arbuthnot (apparently a memo by the artist to meet the latter at 12). Arbuthnot was commissioned by the Goupil Gallery to take photographs of a number of leading artists of the era including Pryde, who also exhibited with the gallery.
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Cat.38
Sir Frank Brangwyn, RA, RWS (1867-1956) Bathers by a Continental Bridge Signed with monogram l.l.: FB Coloured chalks on light brown paper, 24 by 18 cm (9 ½ by 7 ins)
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Cat.39
George Belcher, RA (1875-1947) Portrait of Augustus John Inscribed and dated u.l.: Aug John/Mch 9/32/Tatler Pencil with touches of coloured crayon, 13 by 18 cm (5 by 7 ins) Exhibited: the Michael Parkin Gallery, The Cafe Royalists, Oct-Nov 1972, no.8
The painter and illustrator George Belcher was a friend of Augustus John who he beautifully captures in the sensitive portrait study. The sketch was executed for an edition of Tatler in March 1932.
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Early Drawings by Augustus John This interesting group of early Augustus John drawings appear to have been in the collection of the Irish artist William Crampton Gore who is reputed to have shared a studio with Augustus John in the very early 1900s. They date from John’s time leaving the Slade in 1898 until the first year or so of the 1900s.
Cat.40
Augustus John, OM, RA (1878-1961) Portrait of a Young Girl Pen and sepia ink, 12 by 10 cm (4 ¾ by 4 ins) Provenance: William C.Gore; thence by descent
Rebecca John has discovered a study of the same sitter by John in the artist’s drawings and papers held by the Slade School of Art Collection at University College London. These drawings confirm her as an as yet identified model from around his time as a student there. 50
Cat.41
Augustus John, OM, RA (1878-1961) Study for “Moses and the Brazen Serpent” Pen and ink, 23.5 by 30 cm (9 ¼ by 11 ¾ ins) Provenance: William C.Gore; thence by descent
John’s ambitious religious painting Moses and the Brazen Serpent won the Slade Summer Composition Prize in the artist’s last year there (in 1898). The present work is one of a number of the artist’s studies for the final composition, reflecting his deep admiration for Dutch Old Master drawing, particularly, in the present case, the pen and ink drawings of Rembrandt.
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Cat.42
Augustus John, OM, RA (1878-1961) Fête Champêtre with Sir William Rothenstein and Ida Nettleship Verso: a further portrait of Ida Nettleship Executed in 1900 Pencil, 24.5 by 29 cm (9 ¾ by 11 ½ ins) Provenance: William C.Gore; thence by descent
Part of the training at the Slade in John’s time included a close study of French drawing of the eighteenth century. This included a student competition for the finest copying of a drawing by Watteau which John won. Several of John’s drawings from the period reflect this style, including a fine portrait of his sister Gwen (see Christie’s, London, Twentieth Century British Art, 10 June 2005, lot 11). This elegant pastoral scene incorporates his future wife Ida Nettleship and his friend, the painter and future Slade professor, William Rothenstein into a scene rich in these French influences. John himself frequently tore his drawings in half, including some exceptionally fine ones which were often pieced together by other artists. Amongst them was the painter Wyndham Lewis who owned a portfolio of torn John drawings. 52
Cat.43
Robert Bevan (1865-1925) Smithy with Horse and Cart, Szeliwy With the artist's studio estate no. (480) in margins Watercolour with chalk, 14.5 by 20.5 cm (5 ž by 8 ins) Provenance: Sale; Sotheby's, London, 7 March 1990, lot 135 (as Polish Cottage); Duncan R Miller Fine Arts, London Exhibited: London, Anthony D'Offay, Robert Bevan Drawings and Watercolours, 31 January-10 March 1967, cat.no.8
The present work is the watercolour of a well-known Bevan composition that appears in a number of different versions. These include an oil painting in the collection of the National Trust at Fenton House (NT 1449101) and a slightly larger black chalk version now in the collection of the Museum of Fine Arts, Boston (acc.no. 2009.4315). The latter work is dated by the artist to 1901. Such early and mid period works show the strong influence that the language of Post Impressionism was having on Bevan at this date. This influence arguably reveals itself at its most intense in works on paper like this drawing, emulating the artist’s own take on the dynamic, whirling landscape forms of Gauguin and Van Gogh.
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Cat.44
Walter Sickert, RA (1860-1942) The Audience and Orchestra Pit at the Old Middlesex Pen and ink with black crayon and white chalk, 22 by 31.5 cm (8 ½ by 12 ¼ ins) Provenance: acquired by the previous owner from Agnew's in 2004 Exhibited: Sydney, Richard Nagy and Spink & Son in association with DC-ART, Walter Richard Sickert, Lucien Pissarro, September 1989, cat.no.14, (ill.) Literature: Wendy Baron, Sickert: Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.331, cat.no.282.4
The present work is one of a small but important group of studies from 1906 depicting the audience and orchestra pit at the Old Middlesex Music Hall in the West End. These studies, taken from a high vantage point in one of the theatre’s upper side galleries, are examples of Sickert's drawing at its most abstract and mysterious. Wendy Baron has admired these drawings for their “new pictorial softness and richness” (op cit. p.61).
Cat.45
Walter Sickert, RA (1860-1942) The Old Middlesex (The Small Plate) 1914 (published 1915) Inscribed under mount: First state/unique proof Etching on grey paper, first state, 12.7 by 18cm (plate) Literature: Bromberg, no. 158 I/IV; Aimée Troyen, Walter Sickert as Printmaker, New Haven: Yale Centre for British Art, 1979, p. 67, cat. no. 92 (second state) Exhibited: Possibly Agnews, Centenary Exhibition of Etchings and Drawings by W.R. Sickert, 1960
A smaller version of the composition etched by Sickert in c.1910-11 and based on drawings of the Old Middlesex Theatre from c.1906. An example of the third state is in the Fitzwilliam Museum, Cambridge (P.102-1955).
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Cat.46
Walter Sickert, RA (1860-1942) Joe Haynes at the Old Bedford, Camden Town Signed l.r.: Rd St ARA and inscribed l.l. Joe Haynes - Chairman/Old Bedford Music Hall/ Camden Town Black and white chalk on buff paper, 38 by 30 cm (15 by 11 ¾ ins) Provenance: Ralph Fasternedge; with Agnews in 1970 Literature: Wendy Baron, Sickert: Paintings & Drawings, Yale University Press, New Haven and London, 2006, p.179, cat.no.48.7
The distinctive, square, features of Joe Haynes, Chairman of the Old Bedford can be identified in a number of Sickert's paintings and drawings of the music hall in the later 1880s. The best known of these is possibly the painting Little Dot at the Old Bedford Music Hall of c.1888-89 (private collection). Although not directly related, this painting clearly shows Haynes on the right of the picture and facing towards the stage (rather than away as in this drawing). The theatre’s boxes also provide the painting’s background, with the auditorium’s distinctive high-backed chairs with their backs to us, as in the present composition. The original Old Bedford Music Hall was finally demolished in 1898 to make way for the New Bedford. Both theatres provided the subject matter for some of the artist’s greatest theatrical works.
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Cat.47
Thérèse Lessore (1884-1945) Audience in Boxes at the New Bedford Music Hall Oil on canvas, 28 by 24 cm (11 by 9 ½ ins) Provenance: with the Jonathan Clark Gallery in 1992
Lessore was Walter Sickert’s third wife, marrying him in 1926 and nursing him until his death in 1942. She had already enjoyed a long and successful career as an artist before she became involved with Sickert, being both a prize winner at the Slade School of Art in 1909 and a founder member of the London Group in 1913. Her future husband was also one of her most fervent admirers, writing of her work at the New English Art Club in 1916 before he had even met her: “She seems to me to have all the merits that all groups would like to claim… she has human interest…(and) By some strange alchemy of genius the essential of their beings and movements…are presented in ordered and rhythmical arrangements of the highest technical brevity and beauty…I cannot see her pictures going out of date.” The present work superficially presents Lessore at her most Sickert-esque, the New Bedford and its distinctive high boxes and caryatids featuring in some of his best-known theatre pictures. The painting’s execution, however, is altogether more graphic, even illustrative, making a strong case for Lessore’s own quite distinct language as an artist. 57
Cat.48
Robert Randoll (1864-1946) Searchlights over Hammersmith Town Hall, 1917 Signed and inscribed on old backboard: War Searchlights/Hammersmith Town Hall/1917/RRandoll Coloured chalks, 24 by 17 cm (9 ½ by 6 ž ins)
Randoll was an illustrator, primarily of London views, a number of which are in the collections of the Borough of Fulham, the Royal Borough of Kensington and Chelsea and the Guildhall Art Gallery. He appears to have been particularly attracted to the peculiar effect of searchlights on the night time skyline of London during World War One, his other subjects in this vein including views of the Mansion House and the Thames at London Bridge. 58
Cat.49
Ernest Procter, ARA (1886-1935) Air Raid at Dunkirk, Sept 17th, The Chamber of Commerce Burning, 1917 Signed, dated and inscribed l.r. Wash over pen and ink, 20 by 25 cm (8 by 9 ¾ ins)
In the middle of the First World War, Procter served as official War artist to the Friends’ Ambulance Unit, his Quaker routes leading him to register as a conscientious objector. Despite this, his painted work suggests a challenging existence that was close to the dangers of the Front line and presents, at times, a remarkably direct record of his experiences. This significant body of work was created both during Procter’s time working on ambulance convoys and later as an Official War Artist for the ministry of information between 1918 and 1919.
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Cat.50
Christopher Richard Wynne Nevinson, ARA (1889-1946) Boulogne Signed l.r.: C.R.W. Nevinson Watercolour over pencil, 10 by 14 ins (25.5 by 35.7 cm) Comparative Literature: Jonathan Black, C.R.W.Nevinson - The Complete Prints, Lund Humphries, 2014, no.73; Kenneth Guichard, British Etchers 1850-1940, London, 1977, no.100
The present work is directly related to Nevinson's etching Boulogne which was issued in an edition of 25. Jonathan Black (op cit) has dated that work to 1920 suggesting a similar dating for this picture. The watercolour depicts the Place Dalton in the heart of Boulogne’s lower town. To the centre is the large cruciform church of St Nicholas’s, one of the finest surviving medieval buildings in the town.
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Cat.51
Sir Stanley Spencer, RA (1891-1959) Study for “The Music Lesson, Bedales”, 1921 Verso: a further related study in pencil Watercolour over pencil, 39.5 by 60 cm (15 ½ by 23 ½ ins)
Between 1919 and 1920 Spencer lived with the judge Sir Henry Slesser and his wife Margaret, a stay that resulted in a series of remarkable commissions that would culminate in his masterpiece The Resurrection, Cookham of 1924-7. At around the same period Spencer also embarked on a number of other significant projects, one of which took him to the progressive Bedales School near Petersfield in Hampshire. Here he stayed with his fellow artist Muirhead Bone and began to sketch ideas for an ultimately unrealised scheme for the school’s memorial hall. A number of studies exist for this of which the present work is amongst the strongest. A closely related painting also resulted from the project which was sold by Spencer’s dealers Arthur Tooth in 1960.
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Cat.52
Sir Thomas Monnington, PRA (1902-1976) Study for “Tempests Attacking Flying Bombs” Watercolour over pen and ink, 5 by 6.5 cm (2 by 2 ½ ins)
Tempests Attacking Flying Bombs, now in the Imperial War Museum (IWM ART LD 4588) is Monnington’s Wartime masterpiece. The painting juxtaposes the drama of a dogfight in the sky with the bucolic setting of his neighbour’s farm across the field in Leyswood near Tunbridge Wells. This small but intense thumbnail sketch for the final work succeeds in catching the event in dramatic miniature form.
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Cat.53
Dora Carrington (1893-1932) Spanish Dancers Pencil, 29 by 20.5 cm (11 ½ by 8 ins) Provenance: Noel Carrington Exhibited: Anthony D'Offay, 1982
The present work was executed on Carrington's visit to the British writer Gerald Brenan in Spain in 1921. In due course Carrington would begin an affair with Brenan which would continue during the early part of her troubled marriage to Ralph Partridge. Carrington’s fine portrait of Brenan is in the National Portrait Gallery. 63
Cat.54
Paul Nash (1889-1946) Portrait sketch of Edward Burra in Scottish Dress Drawn on the back of a postcard from the artist to Edward Burra with a postmark of October 1930 Signed with monogram: PN and extensively inscribed with a comic poem from the artist Pen and blue ink, 11.5 by 9 cm (4 ½ by 3 ½ ins) Provenance: Edward Burra; William Chappell
This intriguing illustrated postcard is likely to refer to a recorded trip that Burra would make to Glasgow in 1930, during which time he probably executed his well-known Scottish street scene The Gorballs, Glasgow. By the late 1920s Burra and Nash had become close friends with a considerable mutual artistic respect, one that had been strengthened by Nash living on the south coast at Dymchurch, not far from Burra at Rye.
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Cat.55
Edward Burra (1905-1976) Landscape with Pylons Signed l.l.: E.J.Burra Pencil with pen and ink, 34.5 by 49 cm (13 ½ by 19 ¼ ins)
This drawing dates from 1965 and is a related study for Burra’s watercolour drawing The Pylon, 1965 (see A.Causey, Edward Burra: The Complete Catalogue, Oxford, 1985, no.319). The surreal, even menacing form, of the PostWar pylon held an understandable appeal for the artist’s fertile imagination and appear in a number of Burra’s other large-scale watercolour landscapes from the same period.
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Cat.56
Robert Medley, RA (1905-1994) The Jokers I Inscribed with title l.r. The Jokers I signed and dated Robert Medley/35 Watercolour and gouache, 39.5 by 75 cm (15 ½ by 29 ½ ins) Exhibited: Modern Art Oxford, Robert Medley; Retrospective, 1984, no. 8
Medley’s work of the 1930s has a sophisticated European flavour that has more in common with the world of German Expressionism than the sometimes more prosaic work of his British contemporaries. At around this date he was one of the key figures in the establishment of the Artist’s International Association, a radical organisation of left wing artists which would also include the artists James Boswell, James Fitton and James Holland.
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Cat.57
James Boswell (1906-1971) A Soho Street Scene Pen and black ink heightened with white, 57 by 37 cm (22 ½ by 14 ½ ins) Provenance: Sal Shuel (the artist’s daughter)
Many of Boswell’s finest street scenes date from the 1930s and incorporate the influence of satirists and illustrators from across Europe, amongst them George Grosz. A committed Marxist, he graduated from the Royal College of Art in the early 1930s becoming a founding member of the Artist’s International Association and an early voice against the spectre of fascism. He was also a remarkable lithographer and created similar subjects to the present drawing in that medium. William Feaver has described Boswell as “one of the finest English graphic artists of this (the twentieth) century”. The artist’s daughter has dated the present work to 1938. It probably depicts a street in Soho possibly near the Charing Cross Road. I am very grateful to the artist’s daughter, Sal Shuel, for her assistance. 67
Cat.58
Eric Gill, ARA (1882-1940) Studies for “Mankind”, c.1927 Pencil, 12.5 by 9 cm (5 by 3 ½ ins) Provenance: Petra Tegetmeier (the artist's daughter); with Wolseley Fine Art; Tim Hobart
This sheet of studies appears to relate to one of Gill's best-known works, the monumental sculpture Mankind showing the central section of a female torso. It was carved by the artist in Hoptonwood Stone. The work was shown in Gill's landmark one-man show at the Goupil Gallery in 1928. It is now on public display at the Victoria and Albert Museum in London (on long-term loan from Tate Britain). 68
Cat.59
John Minton (1917-1957) Seated Man Reading Pencil, 36 by 26 cm (14 by 10 Âź ins) Provenance: Abbott and Holder
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Cat.60
Cat.61
Eric Fraser (1902-1983) The Pursuit of Pleasure
Sir Cecil Beaton (1903-1980) Dressmakers at Hattie Carnegie's
An Illustration for “Good Housekeeping”, June 1931 Signed l.l.: Eric Fraser Wash over pen and ink, 14 by 52 cm (5 ½ by 20 ½ ins)
Signed l.r.: Beaton Wash over pen and ink, 43 by 29 cm (17 by 11 ½ ins) Exhibited: Michael Parkin Fine Art, The Cecil Beaton Memorial Exhibition, 1983, no.110 Literature: Josephine Ross, Cecil Beaton in Vogue, C.N.Potter, 1986, illustrated, p.156
As one of the finest British graphic artists of the mid twentieth century, it is Eric Fraser’s contribution above all others that came to define the look and style of Radio Times magazine. This fine early work is an illustration for the magazine Good Housekeeping, where it was published in the issue for June 1931. Its composition and subject perfectly conjure up the appropriate sentiment of mid century decadence and the dynamic spirit of Art Deco.
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The present illustration was executed for Vogue, on 1st November 1932. Hattie Carnegie, born in Austria as Henrietta Kanengeiser in 1886 was one of the leading New York fashion entrepreneurs of the early part of the twentieth century. Carnegie’s business had reached its height in the 1920s and early 1930s, buying a building off Park Avenue on 42 East 49th Street and boasting sales of $3.5 million in 1929. The business weathered the Great Depression creating a less expensive clothing line called Spectator Sports. Beaton frequently photographed for Hattie Carnegie from the 1930s through to the 1950s. The present more unconventional illustration shows the more rarely seen work behind the scenes.
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Cat.62
Freda Mabel Rose (1909-1987) Summer day in a Seaside Town Signed l.r.: Rose and further signed and dated (under mount) Rose/49 Gouache, 55 by 33 cm (21 ½ by 13 ins)
Freda Mabel Rose is best know for her charming postcards of childhood and children’s’ subjects that she executed in large numbers from the mid 1930s. In addition she was also an illustrator of toy boxes and of booklets for children although much of her work in this vein is now lost and is very rare. This charming evocation of an English seaside town is a fine example of one such subject. 72
Cat.63
John Nash, RA (1893-1977) January - Clearing the Snow Signed with monogram l.r.: JN Pen and black ink, 17.5 by 11 cm (7 by 4 ½ ins)
A calendar illustration for the BBC Book of the Countryside, 1963, evidence of John Nash’s charming and humorous work as an illustrator. 73
Cat.64
Kenneth Rowntree (1915-1997) Bombed Streets in London Signed l.l.: Kenneth Rowntree and further signed and dated l.r. Kenneth Rowntree/1940 Watercolour, 31 by 47.5 cm (12 by 18 ž ins)
Following the outbreak of War, Rowntree, who was a Quaker and (consequently) a pacifist) found work as an official War artist on the Home Front. The primary outlet for his artistic talents would prove to be the Pilgrim Trust Recording Britain project, one that took him across the United Kingdom including to Derbyshire, Essex, Yorkshire and Northamptonshire. Until his move to Great Barfield in 1941 (at the behest of his friend Eric Ravilious) he also executed a number of fine Home Front London subjects, the best known being A Polo Ground in Wartime and Foreign Servicemen in Hyde Park, both of which are in the Imperial War Museum. Like those works, the present desolate records of London bomb damage also date from 1940, just before his move to the relative safety of Essex.
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Cat.65
Kenneth Rowntree (1915-1997) Bombed House, North London Signed l.l.: Kenneth Rowntree and inscribed and dated l.c. Bombed Buildings/1940 Watercolour, 31 by 47.5 cm (12 by 18 ž ins)
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Cat.66
Michael Rothenstein, RA (1908-1993) The Yellow Wheel Signed and dated u.r.: Michael Rothenstein/1942 Watercolour over pen and ink, 42.5 by 52.5 cm (16 ¾ by 20 ¾ ins) Provenance: acquired by the previous owner from Redfern Gallery in 1997
Rothenstein moved to Ethel House in the Essex village of Great Bardfield in the early 1940s. Here he joined a significant community of artists that included Eric Ravilious, Edward Bawden and Kenneth Rowntree. Like Rowntree, Rothenstein was a contributor to the Pilgrim Trust Recording Britain project and both artists had recently moved to the village in the middle of the War. Rothenstein’s greatest work from the period is arguably more challenging, with a darker edge, than the sometimes more comfortable world of Bawden of Ravilious. Finding its inspiration in the detritus of scrap yards, or overgrown vegetable patches, Rothenstein’s work is at times closer to the Neo-Romantic style work of artists like John Minton, John Craxton, or even Graham Sutherland. The present work is a classic example of his work from the period, painted in the same year as his first one-man show at the Redfern Gallery.
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Cat.67
Michael Rothenstein, RA (1908-1993) Essex Village with Viaduct Collage, 56 by 76 cm (22 by 30 ins) Provenance: the artist's estate; with Goldmark Gallery
The present work is closely related to the artist's linocut Viaduct (sometimes known by the title Farm) which dates from 1955. An example of this linocut is held by the Victoria and Albert Museum (inv.circ.313-1955). It is a rare example of Rothenstein’s work in collage, combining elements of his successful work as a painter in the 1940s with his ground-breaking work in the field of printmaking that would emerge in the following decades.
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Cat.68
Robert Tavener, RE (1920-2004) East Dean from Friston Hill Signed l.r.: Robert Tavener Watercolour, 39 by 54.5 cm (15 ¼ by 21 ½ ins)
The majority of Tavener’s most dynamic and engaging watercolours focus on the sweeping countryside and fauna of the East Sussex countryside near Lewes and Eastbourne. Many relate to his work as a printmaker where he enjoyed particular success, his work in this vein being found in some twenty five public collections. He was also an influential teacher at St Martin’s School of Art in London and most significantly at Eastbourne School of Art where he served as head of printmaking and vice principal.
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Cat.69
Robert Tavener, RE (1920-2004) Autumn on the South Downs near Lewes Signed l.r.: Robert Tavener Watercolour, 39 by 54.5 cm (15 ¼ by 21 ½ ins)
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Cat.70
Graham Sutherland, OM (1903-1980) Moulds, Foundry at Cardiff, c.1942 Watercolour with crayon, ink, chalk and pencil, 8.5 by 20 cm (3 ¼ by 8 ins) Provenance: the Bergamini Gallery, Milan; Pier Paolo and Marzia Ruggerini, Milan and thence by descent. Exhibited: Penlee House Gallery & Museum, 2013; National Waterfront Museum, Swansea. 2014 Literature: P.Gough & S.Moss, From Darkness into Light: Graham Sutherland; Mining, Metal and Machines, Sansom & Co., 2013, p.60 (illustrated in colour)
The present work is a closely related study for the larger painting now in Tate Britain titled A Foundry: Hot Metal has been Poured into a Mould and Inflammable Gas is Rising. It was executed during or after Sutherland’s stretch working at the Guest, Keen and Baldwin Steel Works near Cardiff late in 1941. Sutherland developed a fascination in the elemental power of the heavy industry, writing of his time there after the War (in 1964): “(I was) fascinated by the primitiveness of heavy engineering shops with their vast floors. In a way they are like vast cathedrals...And yet the rite - I use the word carefully - being performed...is extraordinary...and primitive...in spite of our scientific age.”
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Cat.71
John Piper, CH (1903-1992) Studies of Grottos from William Wright’s “Grotesque Architecture” Signed l.r.: John Piper and inscribed l.c. Founded in William Wright's Grotesque Architecture 1767 Wash over pen and ink and pencil, 35 by 49 cm (13 ¾ by 19 ¼ ins)
Similar work to the present drawing from across Piper's career was exhibited in the exhibition John Piper: Georgian Arcadia: an exhibition to mark the Golden Jubilee of the Georgian Group at Marlborough Fine Art in 1987. This sheet of studies, probably for an architectural essay or publication, is based on a plate from William Wright's Grotesque Architecture of 1767.
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Cat.72
John Piper, CH (1903-1992) Mattersey Priory Signed l.r.: John Piper and inscribed with title and dated l.l.: Mattersey Priory/ 26.v.76 Wash over pen and ink and pencil, 38 by 56 cm (15 by 22 ins)
Mattersey Priory is the ruin of a former Gilbertine monastery that stands to the east of the village of the same name next to the River Idle in Nottinghamshire. As well as the present painting, Piper took a dramatic photograph of the priory which also focuses on the bleak, windswept setting of the subject matter. The artist himself donated his negative for photograph to the Tate Archive in 1987 (inv.TGA 8728/27/26).
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Cat.73
John Piper, CH (1903-1992) Ornamental arches for Don Giovanni, Glyndebourne, 1951 Watercolour heightened with gouache over pencil, 38 by 55.5 cm (15 by 21 ž ins)
A comparable study of the same backdrop at a more developed stage in the design's progress is in the collection of the Victoria and Albert Museum (inv.S1775-1986).
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Cat.74
Richard Garbe, RA (1876-1957) Daphne Original plaster maquette, height: 60 cm (23 ½ ins)
Garbe’s father Gustave was a prominent carver in ivory and Richard trained in his father’s studio before entering the Central School of Arts and Crafts. Garbe had a lifelong interest in work by Chinese and Japanese carvers and created exquisite works in ivory which strongly show their influence. This plaster maquette is probably a study for one of these ivory sculptures.
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Cat.75
Richard Garbe, RA (1876-1957) An Elegy Painted plaster maquette, height: 69.5 cm (27 ¼ ins)
Garbe exhibited a version of the present work in bronze at the Royal Academy in 1906 (no.1709) (also sold Christie’s, London, 14 December 2016, lot 4). It is one of the artist’s most impressive early mature works, showing the influence of the New Sculpture movement of the late nineteenth century and sculptors such as Sir Alfred Gilbert. 86
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Augustus John, OM, RA (1878-1961) Study for “Moses and the Brazen Serpent” [Cat.41]
CREDITS
Design: Sarah Garwood Creative sarahagarwood@outlook.com Print: Zenith Print Group enquiries@zenithprintgroup.com © Moore-Gwyn Fine Art Limited (2019)